"sea is muted, being rendered in dark greens rather than the deep blues that could have afforded contrast with the tones of the raft and its figures. From the distant area of the rescue ship, a bright light shines, providing illumination to an otherwise dull brown scene. Géricault was captivated by accounts of the widely publicised 1816 shipwreck, and realised that a depiction of the event might be an opportunity to establish his reputation as a painter. Having decided to proceed, he undertook extensive research before he began the painting. In early 1818, he met with 2 survivors: Henri Savigny,"
"Théodore Géricault Jean-Louis André Théodore Géricault (; 26 September 1791 – 26 January 1824) was an influential French painter and lithographer, whose best-known painting is ""The Raft of the Medusa"". Although he died young, he was one of the pioneers of the Romantic movement. Born in Rouen, France, Géricault was educated in the tradition of English sporting art by Carle Vernet and classical figure composition by Pierre-Narcisse Guérin, a rigorous classicist who disapproved of his student's impulsive temperament while recognizing his talent. Géricault soon left the classroom, choosing to study at the Louvre, where from 1810 to 1815 he copied"
"tubercular infection, Géricault died in Paris in 1824 after a long period of suffering. His bronze figure reclines, brush in hand, on his tomb at Père Lachaise Cemetery in Paris, above a low-relief panel of "" The Raft of the Medusa"". Théodore Géricault Jean-Louis André Théodore Géricault (; 26 September 1791 – 26 January 1824) was an influential French painter and lithographer, whose best-known painting is ""The Raft of the Medusa"". Although he died young, he was one of the pioneers of the Romantic movement. Born in Rouen, France, Géricault was educated in the tradition of English sporting art by"
"in that medium. Perhaps his most significant, and certainly most ambitious work, is ""The Raft of the Medusa"" (1818–19), which depicted the aftermath of a contemporary French shipwreck, ""Meduse"", in which the captain had left the crew and passengers to die. The incident became a national scandal, and Géricault's dramatic interpretation presented a contemporary tragedy on a monumental scale. The painting's notoriety stemmed from its indictment of a corrupt establishment, but it also dramatized a more eternal theme, that of man's struggle with nature. It surely excited the imagination of the young Eugène Delacroix, who posed for one of the"
"a long time, especially during the French Revolution, history painting often focused on depictions of the heroic male nude. The large production, using the finest French artists, of propaganda paintings glorifying the exploits of Napoleon, were matched by works, showing both victories and losses, from the anti-Napoleonic alliance by artists such as Goya and J.M.W. Turner. Théodore Géricault's ""The Raft of the Medusa"" (1818–1819) was a sensation, appearing to update the history painting for the 19th century, and showing anonymous figures famous only for being victims of what was then a famous and controversial disaster at sea. Conveniently their clothes"
"men were thrown into the sea, and some of the survivors resorted to cannibalism. After 13 days at sea, the raft was discovered with only 15 men still alive. News of the tragedy stirred considerable public emotion, making ""Méduse"" one of the most infamous shipwrecks of the Age of Sail. Two survivors, a surgeon and an officer, wrote a widely read book about the incident, and the episode was immortalised when Théodore Géricault painted ""The Raft of the Medusa"", which became an iconic artwork of French Romanticism. ""Méduse"" was commissioned in Nantes on 26 September 1807. In 1811, she was"
"The ship ""Argus"" reappeared two hours later and rescued those who remained. The painting, titled ""Le Radeau de la Méduse"" (English: ""The Raft of the Medusa""), is considered an iconic work of the French Romantic movement and Géricault's masterpiece. It is on display in the Louvre. Contains ""The sufferings of the Picard family after the shipwreck of the Medusa, in the year 1816"" by , Charlotte-Adélaïde Dard and Jean Godin des Odonais French frigate Méduse (1810) Méduse was a 40-gun ""Pallas""-class frigate of the French Navy, launched in 1810. She took part in the Napoleonic Wars, namely in the late"
"there was mostly spent learning from and copying the works of the Renaissance master artists, with many of Cooke's copies being sent back to the United States for show or sale. At some time between 1826 and 1830, he made a copy in Paris of ""The Raft of the Medusa"", a monumental painting by Théodore Géricault depicting a notorious incident following a shipwreck. Cooke's smaller version (4' x 6') was shown in Boston, Philadelphia, New York and Washington, D.C, to crowds, who knew about the controversy surrounding subject. Reviews favoured the painting, which also stimulated plays, poems, performances and a"
"closest friends of Géricault, having met each other in the atelier of Guérin. When Géricault fell ill after a fall of his horse, he stayed with Dorcy for over a year. Dorcy afterwards was one of the few friends of Géricault present when he died on 18 January 1824. In 1824, after Géricault's death, Dedreux-Dorcy bought his masterpiece ""The Raft of the Medusa"" for 6000 francs, while the French government, bidding for the Louvre, wasn't willing to bid more than 5000 Francs. He afterwards declined an offer to resell it to an American for thrice the price he paid, and"
"Louvre, and, even more daring Théodore Géricault's ""The Raft of the Medusa"", which Forbin had been pressing as a royal purchase, and which was eventually bought from the painter's heirs in 1824. Under his guidance post-Renaissance sculptures were brought together and exhibited as the ""musée d'Angolême"", from the rooms that had served Napoleon's Council of State were exorcised new decorative paintings and allegorical ceilings by the most current painters (1825–1827), and a ""musée Charles X"" opened in 1827 to display Etruscan and Egyptian antiquities. The palais du Luxembourg was opened as a museum of contemporary art purchased by the State."
"the survivors and constructed a detailed scale model of the raft. He visited hospitals and morgues where he could view, first-hand, the colour and texture of the flesh of the dying and dead. As he had anticipated, the painting proved highly controversial at its first appearance in the 1819 Paris Salon, attracting passionate praise and condemnation in equal measure. However, it established his international reputation, and today is widely seen as seminal in the early history of the Romantic movement in French painting. Although ""The Raft of the Medusa"" retains elements of the traditions of history painting, in both its"
"sons dominated maritime art in Marseille throughout the 1800s with detailed portraits of ships and maritime life. Arguably the greatest icon of Romanticism in art is Théodore Géricault's ""The Raft of the Medusa"" (1819), and for J.M.W. Turner painting the sea was a lifelong obsession. The ""Medusa"" is a radical type of history painting, while Turner's works, even when given history subjects, are essentially approached as landscapes. His public commission The Battle of Trafalgar (1824) was criticised for inaccuracy, and his most personal late works make no attempt at accurate detail, often having lengthy titles to explain what might otherwise"
"others had been killed or thrown overboard by their comrades, died of starvation, or thrown themselves into the sea in despair. The incident became a huge public embarrassment for the French monarchy, only recently restored to power after Napoleon's defeat in 1815. ""The Raft of the Medusa"" portrays the moment when, after 13 days adrift on the raft, the remaining 15 survivors view a ship approaching from a distance. According to an early British reviewer, the work is set at a moment when ""the ruin of the raft may be said to be complete"". The painting is on a monumental"
"aristocracy. Dominique Ingres also began his career with a portrait of Napoleon, but achieved great success during the Restoration with his precise and realistic classical style. The other major Parisian painters of the period included Anne-Louis Girodet de Roussy-Trioson, Pierre-Paul Prud'hon, and François Gérard. The new generation of painters made their appearance; Théodore Géricault painted one of the most famous works of the romantic period, ""The Raft of the Medusa"", in 1819. In 1822 the young Camille Corot came to Paris and established his studio, and struggled to get his paintings into the Paris Salon. In 1830, Eugène Delacroix, the"
"Raft of the Meduse"" (1818–1819), depicting the true story of the survivors of a shipwreck, gathered on a raft, appealing for help to a far distant ship. Géricault had meticulously studied anatomy to make the dead bodies on the raft more realistic. The painting was bitterly attacked by many critics and defended by many others, including the poet Baudelaire and the painter Horace Vernet. Géricault returned to the theme in 1821-24, with ""The Tempest"" or ""The shipwreck"" a painting of a corpse washed ashore on beach during storm. (1821–24), illustrating graphically again how humans were powerless against nature. In 1822–23,"
"Géricault's ""The Raft of the Medusa"" (1818–19), Eugène Delacroix's ""The Massacre at Chios"" (1824) and ""Liberty Leading the People"" (1830). These were heroic, but showed heroic suffering by ordinary civilians. Romantic artists such as Géricault and Delacroix, and those from other movements such as the English Pre-Raphaelite Brotherhood continued to regard history painting as the ideal for their most ambitious works. Others such as Jan Matejko in Poland, Vasily Surikov in Russia, José Moreno Carbonero in Spain and Paul Delaroche in France became specialized painters of large historical subjects. The ""style troubadour"" (""troubadour style"") was a somewhat derisive French term"
"to study at the famous Académie Julian. where Goldie received a strong grounding in drawing and painting. He returned to New Zealand in 1898 and established the ""French Academy of Art"" with Louis J. Steele, who had been his tutor prior to his departure. They shared a studio and collaborated on the large painting ""The Arrival of the Māoris in New Zealand"", based on Théodore Géricault's ""The Raft of the Medusa"". It depicting exhausted, starved and stormtossed Polynesian mariners sighting land after a long journey by catamaran. Its representation of a starving crew and fanciful canoe was disdained by contemporary"
"The Woman with a Gambling Mania The Woman with Gambling Mania is an 1822 painting by Théodore Géricault. It is a member of a series of ten portraits of people with specific manias done by Géricault between 1820 and 1824, including ""Portrait of a Kleptomaniac"" and ""Insane Woman"". Following the controversy surrounding his ""The Raft of the Medusa"", Géricault fell into a depression. In return for help by psychiatrist Étienne-Jean Georget, Géricault offered him a series of paintings of mental patients, including this one, in a time when the scientific world was curious about the minds of the mentally insane."
"advantage of being almost the only London venue able to exhibit really large works. Usually admission was one shilling. In 1820, ""The Raft of the Medusa"" by Théodore Géricault was exhibited from 10 June until the end of the year, rather overshadowing Benjamin Robert Haydon's painting, ""Christ's Entry into Jerusalem"", on show in an adjacent room; Haydon rented rooms to show his work on several occasions. In 1821, exhibitions included Giovanni Battista Belzoni's show of the tomb of Seti I in 1821, and James Ward's gigantic ""Allegory of Waterloo"". In 1822, a family of Laplanders with their reindeer were imported"
"The Rape of the Daughters of Leucippus The Rape of the Daughters of Leucippus is a 1618 painting by Peter Paul Rubens. It is now on show in the Alte Pinakothek in Munich. The painting depicts the mortal Castor and the immortal Pollux abducting Phoebe and Hilaeira, daughters of Leucippus of Messenia. Castor the horse-tamer is recognisable from his armour, whilst Pollux the boxer is shown with a bare and free upper body. They are also distinguished by their horses—Castor's is well-behaved and supported by a putto, whereas Pollux's is rearing. The putto's black wing shows the twins' ultimate fate."
"the contemporary Romantic painters—who were also intrigued with subjects of injustice, war, and death—composed their paintings with greater attention to the conventions of beauty, as is evident in Théodore Géricault's ""Raft of the Medusa"" (1818–1819) and Eugène Delacroix's 1830 painting ""Liberty Leading the People"". The painting is structurally and thematically tied to traditions of martyrdom in Christian art, as exemplified in the dramatic use of chiaroscuro, and the appeal to life juxtaposed with the inevitability of imminent execution. However, Goya's painting departs from this tradition. Works that depicted violence, such as those by Jusepe de Ribera, feature an artful technique"
"the main presenter of the programme. In 1992, Graham-Dixon won the first prize in the Reportage section in the Montreal World Film Festival for a documentary film about Théodore Géricault's painting ""The Raft of the Medusa"". He has since gone on to present several BBC documentary series on art, including ""A History of British Art"" (1996), ""Renaissance"" (1999), ""Caravaggio"" (2002) ""The Secret of Drawing"" (2005), ""The Battle for British Art"" (2007), ""The Art of Eternity"" (2007), ""The Art of Spain"" (2008), ""The Art of Russia"" (2009), ""The Art of Germany"" (2010), ""Art of America"" (2011) and "" Art of China"""
"the coast of present-day Mauritania. A few survivors were picked up by the other vessels. The shipwreck received a large amount of publicity and was the subject of a famous oil painting, ""The Raft of the Medusa"", by Théodore Géricault. When the three remaining French ships arrived at Saint-Louis they found that the British governor was not ready to hand over the colony so the ships continued southwards and moored off the island of Gorée, near Dakar. Caillié spent some months in Dakar, then only a village, before returning by ship to Saint-Louis. There he learned that an English expedition"
"moment when one more stroke of the brush would have ruined everything"". Delacroix's most influential work came in 1830 with the painting ""Liberty Leading the People"", which for choice of subject and technique highlights the differences between the romantic approach and the neoclassical style. Less obviously, it also differs from the Romanticism of Géricault, as exemplified by ""The Raft of the Medusa"". Delacroix felt his composition more vividly as a whole, thought of his figures and crowds as types, and dominated them by the symbolic figure of Republican Liberty which is one of his finest plastic inventions... Probably Delacroix's best-known"
"saying: ""Either Girodet is mad or I no longer know anything of the art of painting"". A new generation of the French school, developed personal Romantic styles, though still concentrating on history painting with a political message. Théodore Géricault (1791–1824) had his first success with ""The Charging Chasseur"", a heroic military figure derived from Rubens, at the Paris Salon of 1812 in the years of the Empire, but his next major completed work, ""The Raft of the Medusa"" of 1821, remains the greatest achievement of the Romantic history painting, which in its day had a powerful anti-government message. Eugène Delacroix"
"with the academic school of painting. It was thus a victory for the Romantism introduced by Slingeneyer's master Wappers. Wappers himself had been inspired by French Romanticism. ""The sinking of the French battleship Le Vengeur"" was compared with ""The Raft of the Medusa"" by the French Romantic painter Théodore Géricault. The success of the painting secured for the young painter an elite patronage including from King William II of the Netherlands who commissioned in 1844 his ""The death of sea captain Claessens"" and King Leopold I of Belgium who bought his ""The death of Jacobsen"", which had won the Gold"
"Minnah upon seeing the lithograph of ""Madonna of the Veil"" by Raphael: Madonna of Loreto (Raphael) The Madonna of Loreto is a painting finished around 1508–1509 by the Italian High Renaissance painter Raphael. It is housed in the Musée Condé of Chantilly, France. For centuries the painting kept company with Raphael's ""Portrait of Pope Julius II"", first at the Santa Maria del Popolo, then in private collections, and for a time their location was unknown. Their ownership, or provenance, has been difficult to unravel because of the number of copies of both paintings, the unclear ownership chain, misinformation and delay"
"but with the advent of Romanticism, and economic changes in the production of art, the artists' vision became the usual determinant of the content of his art, increasing the incidence of controversies, though often reducing their significance. Strong incentives for perceived originality and publicity also encouraged artists to court controversy. Théodore Géricault's ""Raft of the Medusa"" (c. 1820), was in part a political commentary on a recent event. Édouard Manet's ""Le Déjeuner sur l'Herbe"" (1863), was considered scandalous not because of the nude woman, but because she is seated next to men fully dressed in the clothing of the time,"
"Sir Simon Rattle in 2006. Das Floß der Medusa Henze wrote it as a Requiem for Che Guevara, and set it to a text by Ernst Schnabel. It tells the story of the French frigate ""Meduse"", which ran aground off the west coast of Africa in 1816, an ignominious episode in French political and maritime history, immortalised by the painting of the same name by Théodore Géricault. The work employs a large orchestra, a speaker, a soprano, a baritone, and choruses. In the course of a performance, the chorus members move from left side of the stage, ""the Side of"
"with his daughter Helena as a little girl. In the final two series, Kippenberger first can be seen posing like Picasso’s last wife, Jacqueline, subtitling the piece ""The Paintings Pablo Couldn’t Paint Anymore"". In the complex of lithographs entitled ""Medusa"" (1996), Kippenberger used photography as his starting point although, this time, he himself posed for wife and photographer Elfie Semotan, mimicking the postures of the characters in the famous painting ""The Raft of the Medusa"" (1819) by Théodore Géricault (1791-1824). In 2011, Kippenberger's ""When It Starts Dripping From the Ceiling"" was accidentally destroyed by a janitor in a Dortmund museum"
"by treaty to be returned to French rule by an occupying British force. The ship ran aground on sand banks 50 kilometres from the Senegalese shore, partly because of Schmaltz's impatience to reach Saint-Louis and partly because of the incompetence of the captain and navigator. The tragedy that ensued, after it was decided to set 146 of the 400 crew and passengers onto a hastily built raft, was immortalized in Géricault's painting ""The Raft of the Medusa"". Schmaltz, his family and staff made it to shore in a longboat, subsequently reaching the capital of Senegal by land. He then formally"
"too few boats to take off everyone on board, so 146 men and one woman took to a hastily built raft. By the time ""Argus"" by chance found the raft on 17 July, only 15 men survived. ""Argus"" then took the survivors to Saint-Louis. The story of the raft became the subject of an important painting: ""The Raft of the Medusa"". From 19 June until November 1818, ""Argus"", under the command of ""capitaine de frėgate"" Peureux de Mélay, carried dispatches and passengers from Lorient to Saint-Louis. There she was assigned to colonial service. She went to the Kingdom of Galam"
"is held in the Uffizi Gallery in Florence. Medusa (Caravaggio) Caravaggio painted two versions of Medusa, the first in 1596 and the other presumably in 1597. The first version (1596) is also known as ""Murtula"", after poet Gaspare Murtola (d. 1624), who wrote of it: ""Flee, for if your eyes are petrified in amazement, she will turn you to stone."" It measures 48 by 55 cm and is signed ""Michel A F"" (Latin: """"), ""Michel Angelo made [this]"", Michelangelo being Caravaggio's first name. This work is privately owned. The second version, shown here, is slightly bigger (60×55 cm) and is"